There is nothing more fun that recasting some of our favorite pictures (or even perhaps ones that were never made). To begin a series called The Casting Director, we will play god for imaginary productions and take a stab at recasting some classic performances (just for fun).
First up, one of the greatest Westerns of all time:
Hombre
Jeremy Renner as John Russell
Perhaps one of Paul Newman’s best performances, the role of John Russell (or Hombre, half-breed/quiet anti-hero) is hard to fill but I feel there is no current actor better suited to play it than Jeremy Renner. Having proved himself in The Hurt Locker and The Town (not to mention overlooked performances before his breakout in the underrated Twelve and Holding and the horrible 28 Weeks Later, worth it only for Renner), he has the necessary grit to play John Russell. I do not think that he would over-act for an instant and would understand the brilliance of Newman’s work while bringing plenty of his own to the role.
Tommy Lee Jones as Cicero Grimes
Richard Boone cannot be replaced. His role in Hombre and The Tall T are possibly the greatest Western villain roles in all cinema. When considering how to cast Cicero Grimes, I thought of some qualities Boone brought to the role. After all, as my Cinema Station partner Gus Edwards pointed out, Grimes is not a monster. Like all good Western antagonists, he has a code; he lives by his own values and is a formidable if nasty and relentless bad guy. He is charming, funny, and mean as hell. Now, although this actor has not made a career of playing villains, I believe Tommy Lee Jones would be good for the role. First, he understands the Western genre (his own directorial effort Three Burials of Melquiades Estrada is a great film). Also, from his performance in that and The Fugitive, I recognize a rough, mean sense of humor in Jones. In the latter film, he is charming, tough, relentless and yet reasonable. It would be fun to play off these elements and I believe Jones would be more than capable to play Grimes.
Virginia Madsen as Jessie
It was much harder to recast Jessie (originally played by Diane Cilento) than any other character. I find it ironic that (from my viewpoint) most of the female actors today are much softer than the ones working in old Hollywood. We have no Lauren Bacalls, no Marlene Dietrichs, no Joan Crawfords. Well, there is at least one great actress we have: Virginia Madsen. I really believe that Virginia, as a woman, has the grit to fit perfectly in the Western genre. Modern directors have struggled with this type of casting (Annette Benning in Open Range and Renee Zellweger in Appaloosa) but Virginia is an overlooked talent. Starting with Dennis Hopper’s The Hot Spot (which she steals) to Sideways (which she was the only redeeming part of), Madsen remains the toughest, sexiest American woman in movies today and she is the only one I can see playing Jessie.
Edward James Olmos as Henry Mendez
Martin Balsam was a fantastic character actor. He belongs to a tradition of Hollywood craftsmen who transitioned from one role to the next, regardless of race/age, and turned in good work. I would like to cast Edward James Olmos as Henry Mendez, the stagecoach driver. Olmos is an actor who commands the screen with silent integrity. At an older age, I believe he could capture Mendez’s sympathetic nature as well as his feebleness in the conflict. For this role, I would want to push (more than the original film) the idea that Mendez is tired, maybe once had fire to fight but has seen everything and just wants to get by. He admires John Russell’s pride but advises him to be a “white man for a while”. Olmos has not had a very good role in movies for a long time (though his performance in The Ballad of Gregorio Cortez is yet another underrated entry in the genre) and I would like to see him get some characters he can really sink his teeth into.
Christopher Plummer as Dr. Alex Favor
I believe Christopher Plummer would make a good replacement for Fredric March. Now, I base this decision most on studying his work in The Insider. He is noble, charismatic, yet treacherous and selfish. Plummer would make a damn fine Dr. Alex Favor, too good to have half-breed John Russell sit in the wagon while all the time stealing money from the reservations. I could see the whole bunch having pity for this old, handsome character while “hombre” sees the rotten son of a bitch he really is. With a long career behind him, still turning in good acting, Plummer is my choice.
The Director: Ben Affleck
Finally, I would like to recast the director. Martin Ritt did a terrific job with Hombre. There are few directors who can make a good Western. Though he has not experimented in the genre yet, I give the job to Ben Affleck. With Gone Baby Gone and The Town under his belt and more to come, Affleck is probably the most promising director in Hollywood today. He will undoubtedly have a couple misses at some point but I sense that he has the smarts and persistence to keep telling good stories. It would be interesting to see him take on a Western and with the strength of the male characters in his previous films, I think he’s cut out for it. Also, he has worked with Jeremy Renner and they might make a great team for a redo of Hombre.
Anyway, it’s all dreaming. But heck, what else is there.
-TM
When Gus and I are not blogging about movies, we are making our own movies. We started a company a couple years back called Running Wild Films and have since made close to twenty short films and two feature length movies. The first one is now available to download, a comedy-murder-mystery called The Big Something.
The film has received great press in Arizona, where we make local cinema, and continues to find an audience online.
“The Big Something is a laugh-out-loud, screwball comedy with a Raising Arizona-like charm.” -Chris Coffel, Trashwire
““The BIG Something” keeps the plot simple and the film entertaining. The characters are memorable and the locations are a hoot. Music is massive and all within the public domain. Zero budget, 10 day, wing and a prayer feature filmmaking has come to Arizona, as “The BIG Something” offers a tantalizing taste of the swelling wave of local, indie feature filmmaking.” Bill Pierce, Examiner
I was inspired to make the movie after years of working in record stores. Somehow a story of murder and comedy made its way into that world, as did many of the eccentric employees and customers from that environment. The work of Howard Hawks and Buster Keaton was also very influential on the tone and style of the film.
The soundtrack of the film has also been praised: a collection of public domain blues, tracks from the likes of Leadbelly, Fats Waller, and Sonny Terry. It is also available for download.
We are committed to online distribution and exhibition. The movie and the soundtrack are available on our website at this link: http://www.runningwildfilms.com/store/. You can pay whatever you want to download either. You decide the price.
I hope you enjoy the film we have made and keep coming back for more cinema from Running Wild and more cinema-obsession from Cinema Station.
-TM
Peter Bogdanovich’s tribute the contested greatest American filmmaker, John Ford, is itself one the best films ever made about filmmaking. Watching it again, I found some of these quotations about the “man who made Westerns” to be worth repeat.
Martin Scorsese: John Ford is the essence of classical American cinema and any serious person working in film today is effected by him, whether they know it or not.
Clint Eastwood: He was not influenced by a politically correct generation that we live in today. He could go flat out. And I think that was an imprint of Ford’s, where Ford was afraid of nothing.
Harry Carey Jr.: He kept saying, you’re going to hate me when the movie’s over, but you’re going to give a good performance. Well, I hated him after the first day.
Walter Hill: He always said I had a thousand fights with the Studio and I lost them all. But then there’s Grapes of Wrath and My Darling Clementine. I’d like to lose some fights like that.
Maureen O’Hara: He was an instinctive con-man. It was impossible to know when to believe him and when to disbelieve him.
-TM
Travis’ List of Favorite Films from 2011
This year there have been some good movies in theaters but none were more outstanding for this cinephile than three American films whose titles all happen to begin with M.
I feel the state of American cinema is hard to define and yet these three pictures are somehow for me the perfect culmination of this particular point in filmmaking: an era on the brink of great change and reflection.
Here they are, which some short comments for each.
Martha Marcy May Marlene
The most frightening American film since the original Cape Fear (unless you count British director’s terror take on backwoods America Deliverance), this story of a girl who becomes involved in a cult and her attempt to recover from the experience is true horror. Her induction in a rather attractive/believable cult, the descent into its darker motives, and her escape are covered in flashbacks as she readjusts to normal life at her sister’s home.
The brilliance of this movie is that whatever bizarre traditions and mind-controlling methods are used in the cult, the most frightening moments come from the girl’s inability to behave as a normal human being anymore. With a perfect performance by Elizabeth Olsen and direction from Sean Durkin, I think this is the most important movie to see this year.
Midnight in Paris
A movie about nostalgia, about people who are in love with the past, about Americans in Paris, about being able to appreciate your own time as much as another, about walking in the rain.
Woody Allen’s movie is a magnificent picture: fun for his recreation of Lost Generation icons Hemingway and more, perfect in his casting of Owen Wilson as the Woody-protagonist (the best anyone’s ever done), and just plain beautiful. It’s a movie I never wanted to end.
Moneyball
No movie this year has impressed me more than this one. Director Bennett Miller and actor Brad Pitt tell the relentless story of a modern American pioneer. Pitt’s baseball-manager is the most dynamic character of the year. His attempts to run and play the game differently than the norm reflected my personal goals for making cinema outside the industry, with less money and more creativity. This film felt close; I could not divide myself from it.
As good as storytelling gets.
-TM
I never fail to draw looks of shock and defiance when I claim that Nicolas Cage is not only my favorite actor but also the best working today. Though I have no desire to convince anyone of this, I’m often asked to defend my statement in which case I discover that the doubters have not seen most of Cage’s best performances.
Since I hear his brilliant twin role in Adaptation used as an exception to his “crappy” roles and Leaving Las Vegas is an obvious choice, one of the best performances by an actor in cinema, I will leave these two films out. I will also disregard good acting he’s done in films such as Raising Arizona, Wild at Heart, Red Rock West, The Rock, Matchstick Men, and The Weather Man. I will focus on the roles and films which define his work most.
In a career of over thirty films, these are the best performances by the most original, daring performer of our time:
Birdy
This little-known drama about a normal teenager (Cage) who befriends bird-obsessed weirdo (Matthew Modine) is an underrated film with great forgotten performances by both leads. Working through flashbacks as a disfigured Cage tries to bring Modine out of a “bird” coma in a mental asylum, their friendship is pieced together in funny/disturbing glimpses leading up to their time in Vietnam.
Cage is perfect as the worn torn “sane” partner of the duo, trying helplessly to communicate with his friend who stares at the window of his cell naked and speechless. This is incredible work of frustration, passion and madness.
And by the way, the ending is unforgettable.
Vampire’s Kiss
This is one of Cage’s extreme performances (along with similar whack-job roles in The Wicker Man and his ultimate whack-o character in Deadfall). But this is more than an actor going crazy on screen. I will admit that Cage’s antics can be misplaced or forced at times, but here he’s really trying to capture a bizarre descent into madness. The film, a quirky tale of a man who believes he’s becoming a vampire, is hardly perfect. It’s these moments of Cage eating the cockroach and running down the street with fake teeth screaming “I’m a vampire!” that speak of utter devotion to performance: submersion and the willingness to go to laughable places. I see the same trait in Brando in The Missouri Breaks, where true moments of odd behavior are found in an otherwise boring film.
Bad Lieutenant: Port of Call New Orleans
I recently read an interview with Werner Herzog where he spoke of Cage’s performance in his own movie: For a decade, we haven’t seen a performance of that caliber (Colin Firth in The King’s Speech), with the exception of Nicolas Cage in “Bad Lieutenant.”
I couldn’t agree more. Cage trumps Keitel’s performance in the original. Both film and star are superior to the first Lieutenant, an Abel Ferrera film seeped in Catholicism. Herzog does the opposite: his cinema goes against the guilt that has overshadowed the Film Noir genre since its creation. In fact, I believe that this film is the true birth of Modern Noir.
Back to Nick’s performance, it’s an amazing feat of film acting. He’s frantic, manic, energetic, subdued, unpredictable and original. This is the most courageous acting I have seen in years.
Years ago, Sean Penn dismissed Cage (they were once friends), saying he was “no longer an actor, just a performer”. Compared to Penn (who for me) continues to become more and more boring as his career evolves, Cage is not only “a performer” but THE PERFORMER. He is the most interesting person to watch on film.
Though I regret the times that he sleepwalks through films, I know there is another great Cage role right around the corner.
-Travis Mills
James Ellroy: Here’s what Film Noir is to me. It’s a righteously generically American film movement that went from 1945 to 1958 and exposited one great theme and that theme is you’re fucked.
Sydney Pollack: I can tell you I know it when I see it but I don’t know how to define it. Almost every element you name as the definition of a Noir film would apply to Casablanca but you would not call Casablanca a Noir film.
Frank Miller: Raymond Chandler defined it best. He described the Film Noir hero as a knight in dirty armor. He is a knight, he just doesn’t look like one. And he’s never rewarded for what he does. He’s this lonely character who’s out there and he’s just bugged by stuff.
Alan Jay Lerner: A man of the movies too.
Alan Jay Lerner (1918-1986) whom I got to know a little bit when I lived in New York was primarily known as a highly successful songwriter (lyricist) and playwright of musicals. And that is as it should be. After all he wrote such landmark works as My Fair Lady, Camelot, Brigadoon and Paint Your Wagon among several others. But what is hardly known, mentioned or fully appreciated is that he was a man of the movies as well. He wrote the screen adaptations to all of the movies filmed from his plays. But he wrote original screenplays as well. His script for An American in Paris (1951) won the Academy Award for Best Original Screenplay. In 1956 he won two Academy Awards for Best Adapted Screenplay and Best Song for the movie Gigi, a film that he not only helped to produce but to edit as well. That’s three Academy Awards in five years. Not a bad score for a man of the theatre.
In the early 1950s he worked at MGM with the famous Freed Unit and became quite knowledgeable with both the creative and technical aspects of how motion pictures were made. He was quite fond of the medium and wanted to devote more of his time and energies to it. But just as his talents were beginning to mature the movie musical genre went out of style. So he switched his focus to the stage and remained there for the rest of his life except for the occasional foray into the world of movies when one of his plays was being adapted.
On stage he had a series of successful shows with his primary composer Frederick “Fritz” Lowe along with some not-so-successful shows and a few outright flops with other composers. And his last attempt at creating an original musical for the movies The Happy Prince (1973) was also a flop. But that didn’t discourage him. He still thought of film as a where one could be just as creative and in many instances more creative than on stage. He had many ideas he was anxious to try but didn’t live to see them realized.
Alan Jay Lerner was a hard worker on the stage and behind the cameras as well. In the 1956/57 season when he won both the Tony and Academy Awards for his work on both stage and screen a friend on seeing the announcement while visiting with his father said: “My goodness, have you seen this about your son? Isn’t he lucky?” To which his father replied (in writing) “It’s a funny thing with Alan. The harder he works the luckier he gets.”
It is sometime forgotten that he was a fine contributor that indigenous American art form the Hollywood musical. This is just a note to say that some of us do remember and are grateful.
-GE.
Almodovar: A true auteur.
If I had to pick my favorite living film director of the moment I would have to say that it is Pedro Almodovar, Spain’s wunderkind maker of such films as: Women on the Edge of a Nervous Breakdown (1988), Bad Education (2004) And Broken Embraces (2009). I have just seen his latest release The Skin I Live in (2011). And although it is not my favorite of his works, Talk to her (2002 is, the film still possesses many of his wonders. An offbeat and unusual story, ravishing, sumptuous camera work, committed acting and the creation of yet another vest pocket view into what can be only called Almodovar’s world.
But the one aspect of his films that I am always awed by is the wonderful and all encompassing sweep of his narratives. They generally start out by taking you down a broad somewhat familiar looking highway but then as soon as you become sure of the journey you’re taken off onto a side road that is both unfamiliar and strange that could lead you into the mountains or the sea. But once you get to one or the other you’re suddenly whisked in another direction that takes you down a narrow dirt road past some heavy growth of underbrush that doesn’t seem to be leading anywhere. But then just by this time you’re sure that you’re lost the story will take you up a small hill that leads back to the main highway and home. I can’t think of any other living filmmaker/ director whose narratives can involve and confuse in such a satisfying manner. At the moment he is (to me) the only director whose films have the discursive complexity of a good novel. Most seriously made films today are primarily character driven and deal with a single idea or plot that is introduced, intensified and then resolved in one way or another. But with the works of Almodovar we get more than that. We get outrageous characters being true to themselves, a mise en scene that’s frequently quite insane and a narrative full of multiple arteries which more often than not take us to places we’ve never been before. Or takes us to a familiar place via an unusual route.
It is for this reason that I think of Almodovar as a literary director. But literary but in a cinematic way. His films are so visually conceived that they can be viewed without subtitles and the complexity of their stories is still manifest. This proves to me that they are true cinematic creations unto themselves because they are not so married to the written or spoken word that they would be lost or worst incomprehensible without them.
Another aspect of Almodovar’s work that I truly appreciate is the generosity of spirit and whole hearted compassion his films display toward social/sexual outsiders. In this he reminds me of Tennessee Williams’ whose works, despite their central plots, were directly and indirectly pleas for tolerance and acceptance of others whose personal orientations were/are different to ours. But mostly I appreciate Almodovar because he is a filmmaker with a vision that is uniquely his. You can’t look at an Almodovar film and think that you’re looking at the work of some other filmmaker. His DNA is too firmly imbedded in them. Added to that at the moment he is a confident, completely assured filmmaker working at the top of his powers, utilizing the tools of his medium in masterful ways. In other words he is a true auteur in the original sense of that often misused and misunderstood appellation.
If you’re seriously interested in cinema and you haven’t experienced a film by Almodovar this is the time to give one a try. I think that you will be happy you did.
-GE.